The Distance Between Us

AGENDA:

Work on missing work--short stories!  Due FRIDAY!

READ to page 152 in The Distance Between Us and finish over break

CONTESTS: Sokol and Gannon follow instructions on line

Gannon University Poetry Contest

Deadline: Feb. 1

http://www.gannon.edu/Academic-Offerings/Humanities-Education-and-Social-Sciences/Undergraduate/English/Poetry-Contest/

Reyna Grande---Crossing Borders

Please read:

http://reynagrande.com/crossing-borders/

The Distance Between Us/SOKOL

AGENDA:

Write a response to Questions 1-5 and post on the blog.

Check out the links to Reyna Grande on the previous post.

Turn in all missing work!

Wednesday and Friday we will finish viewing Mudbound.

HMWK:
 Read to pg. 102

The Distance Between Us/Discussion Questions

AGENDA:
Check out Reyna Grande's website (see link on blog)

Interview:
https://www.youtube.com/watch?v=dtn_h7iAWY4


https://www.youtube.com/watch?v=-Rv-hP6hflU

Discussion Questions
1. Reyna is two years old when her father leaves Iguala for El Otro Lado (the other side). Why does he leave? Why do Reyna, her mother, and her two siblings—Mago and Carlos—stay behind?

2. When Reyna turns four, her father sends for her mother. Reyna, Mago, and Carlos are left to live with their father’s mother (Abuela Evila). Describe Reyna’s feelings regarding her mother’s leaving and her mother’s absence during these early years.

3. Who is “The Man Behind the Glass”? What does he symbolize?

4. Reyna wishes to stay with Abuelita Chinta instead of Abuela Evila. Compare and contrast the two grandmothers and their attitudes and behaviors toward their grandchildren. Are Reyna, Mago, and Carlos better off once they begin living with Abuelita Chinta? Why or why not? Use evidence from the text to support your answer.

5. Who is Élida and why is she favored by Abuela Evila? Is her behavior toward Reyna, Mago, and Carlos justified? Why or why not?

6. In what way does Tía Emperatriz come to the aid of Reyna, Mago, and Carlos? Could she have done more for the three siblings? Why or why not?

7. Describe Reyna’s relationship with her sister Mago. Why does Mago feel responsible for Reyna?

8. Describe the hardships Reyna, Mago, and Carlos face growing up in Iguala.

9. What reactions do the three siblings have when they learn they have a younger sister, Elizabeth? Who seems the most impacted by this news and why?

10. Why does Reyna’s mother, Juana, return alone from the United States? How does life change for Reyna, Mago, and Carlos when she returns?

11. Who is Rey and why do Reyna, Mago, and Carlos not like him? What happens when he visits the family during the holidays?

12. Compare and contrast Mago’s and Reyna’s feelings toward their mother as time after time she chooses her own needs over those of her children. Does she love her children? Use evidence from the text to support your response.

13. As Carlos matures, he has a need for a father figure. Identify the male role models in his life and explain the influences they have on his development.

14. When Reyna’s father returns from the United States after an eight-year absence, Reyna is almost ten. How does she feel about his return? Why does he return and why does he offer to take Mago back to the United States with him? Why does he want to leave Reyna and Carlos behind?

15. How does Reyna feel about the possible separation from Mago? Why does their father decide to take all three children back with him? Describe their harrowing journey. Is life better for them once they reach the United States? Support your answer with evidence from the text.

16. Mila is Natalio’s second wife. What are Reyna’s earliest perceptions of her? What influence does Milo have on Reyna, Mago, and Carlos?

17. Reyna attends school in both Mexico and the United States. Compare and contrast her experiences in both places. What can readers learn about the challenges poor children have in negotiating school?

18. Reyna does not speak English when she enters school in the United States. How does she overcome this challenge? How is she received by her teachers? By her classmates? What accounts for her ability to succeed?

19. Reyna’s father believes in education and supports Mago and Carlos when they enroll in college. Why does he not help Reyna? How does his refusal impact Reyna?

20. To whom does Reyna owe thanks for her success? Why? Do you agree or disagree and why?
(Questions issued by publisher.)

MUDBOUND/Finish short stories

AGENDA:

Watch Mudbound.

Finish short stories.

Get new book.

Prayer for the Dying TEST/Scholastic

Prayer for the Dying Essay Test

Today, read over the following discussion questions and write a thoughtful response to one of them in essay form.    Develop your response using specific examples from the book.  You may use your book, of course. Length: at least 1 page single spaced using text references cited in MLA format

These questions require thoughtful answers focused on what O'Nan has written.  

Link to blog:

http://thelibrarium.wordpress.com/2006/11/24/discussion-starters-for-a-prayer-for-the-dying/

1)  A Prayer for the Dying uses as its epigraph a quote from Albert Camus: “There is no escape in a time of plague. We must choose to either love or to hate God.”  How does A Prayer for the Dying illustrate this quote?  Do you believe that Camus is correct in presenting the choice we must make in such stark terms?
—– 
2) Richard Eder, in his review of A Prayer for the Dying, writes:

[Jacob Hanson, the protagonist] is, he tells us, the town sheriff. He is the minister. He is the undertaker.
This wacky accumulation expresses his obsession: Out of the destruction of the war, when God seemed to have vanished, Jacob is determined to reinvent Him. He cares for his town as God is supposed to care for the world: He punishes transgressions, provides faith for the living and passage for the dead. “Credo quia absurdum” — the classic religious formula of, roughly, “I believe even to absurdity” — becomes, as horrors multiply, its own horror: I believe right on into madness.

What are your feelings about Jacob’s descent into madness?  When did you first recognize that all was not well with him?  Can religious belief become absurd, and do you see evidence of Eder’s contention above in the book?  And, can religious faith not only descend into absurdity, but even madness? 
—– 
3) Eder also goes on to state, “Clinging to his faith, Jacob disputes it as well. Here is one of his tortured arguments with himself:

” ‘It’s not right,’ you say.
“Who are you angry with?
“Not God
“No? Who else is there? Is this the devil’s work?
“It must be, you think, but uncertainly.”

Eder concludes with, “It is the problem of belief: how to reconcile God with evil. O’Nan carries it further. In Jacob he has the believer, torn. He has God, as well: struggling in despair with the same problem.” 
I know that a book discussion forum is too limiting a place for a full expose on the problem of God and evil, but what does O’Nan say about this problem in A Prayer for the Dying?  
—–
4) Patrick McGrath in his review in the NY Times reminds us of O’Nan’s use of the second person singular and present tense in his writing:  

O’Nan has employed a surprising but ultimately successful narrative technique for Jacob’s story: it is told throughout in the second-person singular and the present tense. Thus Jacob’s references to himself as ”you” have a self-distancing effect; it is as if he doesn’t fully occupy his own being and observes himself from some other place. He is both in his own experience and outside of it. This is a fine perspective for a narrator who will be forced to move from the orderly, predictable contentment of his life in a placid 19th-century farm town to confront the appalling prospect of chaos and destruction as the people around him sicken and die and the brush fires advance ever closer.

Stewart O’Nan once said 

“I mean, I could’ve written, I think, Prayer for the Dying, in first person but it probably wouldn’t work nearly as well. This particular character has this overdeveloped sort of superego and it’s always sort of accusing him. No matter how well he’s doing it’s always sort of saying, “You’re screwing up, you’re screwing up, even though he wants to be this perfect, blameless person, so it fits him perfectly.”

In another interview, O’Nan says:

For A Prayer I needed an intimate narrator capable of fairly hiding things from the reader. So I knew it had to be a first- or second-person, because a third- who’s unreliable is kind of cheating. I tried the first, and it was too close. I was reading Robert O’Connor’s Buffalo Soldiers, written in the second person, and noticed how the voice scourged its owner, tapping him on the shoulder whenever he’s doing wrong, like a conscience or superego. It’s the same use of the second as in Jay McInerney’s Bright Lights Big City, or Charles Johnson’s story “Moving Pictures.” And I thought: what effect would that scourging, nagging, blaming voice have if it were inside a man doing everything he could to prevent a terrible, unavoidable catastrophe? Especially a man who loves his town and feels responsible for everything and everyone. And as I wrote further into the story, I noticed that the voice would veer close to Jacob and then stand apart from him, accusing, and that it worked to highlight that gothic split in him of the strange and troubled private side and the solid and responsible public side. The hidden vs. the seen. And it also works as that ceaseless voice in the head of a mad person, the voice that won’t leave him alone.

Did you find this narrative technique to be successful or off-putting?  Did it take a while for you to settle into the book because of O’Nan’s style here? Cite specific examples and avoid personal opinions.
—–  
5)  Mark Winegardner, writing for Barnes and Noble, says:

When I finished Stewart O’Nan’s A Prayer for the Dying . . . I called him. I told him how jealous I was that he’d been able to write such a large-vision book in such a svelte (190-page) package. Flannery O’Connor was right: A good man is hard to find, when what’s meant by “good” is moral and not civil, when it refers to something larger than likability. What O’Nan does in this book — create a convincingly good man and put him in the middle of his story — is among the toughest acts a novelist can perform.

Given some of his actions in the story, Is Jacob Hanson a good man?  Is he a moral man?  Does Hanson believe, as one reviewer has stated, ”that the calamity is all his fault.”  Is it even possible to be a good man in a time of madness.
—–


6) O’Nan says that the one question underlying all of his work is “When do you give up?” Which, he concedes, “is a horrible question to ask, but it’s a question that a lot of people have to face.” Then, echoing Hamlet’s famous soliloquy on the subject, he adds, “That’s the question.” 
Do you see this question reflected in A Prayer for the Dying?  Is this question “the question?” 
O’Nan also once stated, ”I am primarily a realist and hope to show great empathy for my people without softening the difficult situations they find themselves in-yet my work inevitably veers into the cruel and the sentimental…It is extreme fiction masquerading behind the guise of mainstream realism. I hope it is generous, or, as Cheever said, ‘humane.’” 
Is A Prayer for the Dying a humane book despite its extremes? 
—–  
7) On the last page of the novel Jacob thinks:

“The whole idea of penance is selfish, misguided. You can’t bargain with God, buy Him with pieties. This is what you’ve found out – that even with the best intentions, even with all of your thoughtful sermons and deep feelings and good works, you can’t save anyone, least of all yourself. And yet it’s not defeat. After everything, you may still be saved. Your mother was wrong; it’s not up to you. It’s always been His decision.”

Ultimately, what does this book say about Divine providence?  Do you agree with Hanson’s statements?

DEAD FATHERS CLUB TEST

Answer question #11 from the discussion questions with a thorough essay answer.

Dead Father's Club

DISCUSSION QUESTIONS

1. During the course of his narrative, Philip Noble, commits a series of crimes that grow increasingly serious. Despite his criminal behavior, does he continue to move the sympathies of the reader? By what means does he do so?


2. Leah confides to Philip that she hates God. By contrast, her father, Mr. Fairview, has turned enthusiastically toward religion after the death of his wife. What commentary does The Dead Fathers Club offer regarding religion, and how does religion influence events and relationships in the novel?


3. Philip observes, “If you speak to yourself people think you are mad but if you write the same things they think you are clever.” Discuss examples from life or literature that bear out this observation on the nature of madness and intelligence.


4. Philip routinely omits standard punctuation and sometimes arranges words on the page to add visual meanings to the verbal significance of his writing. How do these devices influence the experience of reading the novel?


5. How might Philip’s mental disturbances be influenced by matters relating to sexuality, for example, his recent circumcision, his attraction toward his mother, and his ambivalent feelings about Leah?


6. Many of Haig’s characters, including Uncle Alan (Claudius), Philip’s mother (Gertrude), Leah (Ophelia), and Ross and Gary (Rosencrantz and Guildenstern) have clear parallels in Shakespeare’s Hamlet. Nevertheless, these characters have been reimagined with traits and motivations that distinguish them from their Shakespearean models. Choose a character from The Dead Fathers Club and reread the scenes involving that character’s counterpart in Hamlet. How has Haig altered the character? What do you think of these changes?


7. Philip takes a surprising interest in Roman history, especially in the reign of Nero. How does this interest relate to Philip’s overall mental state, and how is it woven into the novel’s plot?


8. Philip, who occasionally alludes to the wealth of the Fairview family and comments that “clever schools did Rugby and thick schools did Football,” is aware of the social and intellectual class system that surrounds him. To what extent is Haig’s novel shaped by issues of class?


9. What is the most useful way to understand the spirit that we come to know as Philip’s father’s ghost? Should he be thought of as a character, as an embodiment of Philip’s anxieties, as a demonic presence, or as something else? Why does Philip trust him for so long?


10. Philip grossly misjudges the people around him and, because he tells the story, we view these people only from his misguided perspective. Nevertheless, by some miracle of narration, we are able to see them more or less as they are: as somewhat limited but basically well-meaning human beings. How does Haig manage both to immerse us in Philip’s point of view and give us an objective understanding of his other characters?


11. In a famous essay, T. S. Eliot complained that Hamlet was artistically flawed because the hero’s emotions were in excess of the factual situation in which he found himself. Does Haig’s retelling of the story give Philip sufficient motives for his extreme conduct? Do you find Philip believable as a character? Why or why not?

Prayer for the Dying questions

READING GROUP GUIDE

A Prayer for the Dying
A Novel
by Stewart O’Nan
ISBN-10: 0-312-42891-X
ISBN-13: 978-0-312-42891-4
About this Guide
The following author biography and list of questions about A Prayer for the Dying are intended as resources to aid individual readers and book groups who would like to learn more about the author and this book. We hope that this guide will provide you a starting place for discussion, and suggest a variety of perspectives from which you might approach A Prayer for the Dying.
About the Book
Set in Friendship, Wisconsin, just after the Civil War, A Prayer for the Dying tells of a horrible epidemic that is suddenly and gruesomely killing the town's residents and setting off a terrifying paranoia. Jacob Hansen, Friendship's sheriff, undertaker, and pastor, is soon overwhelmed by the fear and anguish around him, and his sanity begins to fray. Dark, poetic, and chilling, A Prayer for the Dying examines the effect of madness and violence on the morality of a once-decent man.
About the Author
Stewart O’Nan’s novels include Last Night at the Lobster, The Night Country, and A Prayer for the Dying. He is also the author of the nonfiction books The Circus Fire and, with Stephen King, the bestselling Faithful. Granta named him one of the Twenty Best Young American Novelists. He lives in Connecticut.

Discussion Questions
1. The book is narrated in the second person, addressing the main character, Jacob, as “you.” Who is speaking? Why do you think the author chose this mode to tell the story?
2. When Jacob is called to take care of Clytie, he has a very hard time pulling the trigger. Look at the passage (p. 49) in which he has to convince himself to kill her. Why does he agonize when he knows it’s the right thing? What does it mean that he’s “still clinging to some dream of innocence, blamelessness”? Does he continue to cling to that dream later in the story?
3. Why does Jacob elect to bleed and treat the bodies of some victims, even after Doc has told him not to, and even though he knows he’s putting himself in danger? Why is precision and diligence so important to him even when everyone around him is worried only about survival?
4. What role does religious faith play in the story? How does it influence Jacob, Chase, and other citizens of Friendship? Is their faith rewarded?
5. Jacob is a veteran of the Civil War. How does his experience there affect the way he behaves in the crisis in Friendship? How did the war change him?
6. How would you describe the relationship between Jacob and Doc? How do their different ideas about the world lead to different strategies for handling the outbreak in Friendship?
7. How does Jacob’s relationship with Marta affect his behavior in the outbreak? How do his priorities as a father and husband conflict with his responsibility to the town?
8. How do you interpret the book’s ending? What is Jacob choosing when he returns to Friendship? What do you imagine happening to him next?
9. Is Jacob sane at the end of the book? How does the author demonstrate the changes in his mind as conditions worsen?
10. “You’ve stopped believing in evil,” the narrator says of Jacob early in the story (p. 6). “Is that a sin?” Is there evil in this story? Does Jacob come to see it by the end?
11. How do the book’s two epigraphs relate to each other? Why do you think the author chose them?
12. Jacob is committed throughout the book to saving Friendship, and willing to sacrifice himself if necessary. Is he naïve? Does his commitment to principle do more harm than good in the end? Begin working on second person short stories.

Dead Fathers Club/Prayer for the Dying

AGENDA:

Test on Wednesday

Dead Fathers Club:
Read and discuss the following post:

http://bardfilm.blogspot.com/2015/03/book-note-dead-fathers-club.html

https://www.npr.org/templates/story/story.php?storyId=7713667

https://prezi.com/qzdd-iqa2ddc/the-dead-fathers-club/

What other parallels did you find? Go over the discussion questions and post.


Prayer for the Dying:
Go over discussion questions and post!